https://venice.dahvc.org/fall-2020/files/original/November_4_Gallerie_degli_Uffizi_or_Capodimonte_Museum/Pope_Paul_III_with_his_Grandsons/paul-iii-grandsons.png 84a6978dfe9c73146bf0fc8939703810 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 4: Gallerie degli Uffizi or Capodimonte Museum Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Florence and Capodimonte Museum, Naples, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Paul III with his Grandsons Subject The topic of the resource Pope Paul III sits with his grandsons Ottavio and Alessandro Farnese. Creator An entity primarily responsible for making the resource Titian Date A point or period of time associated with an event in the lifecycle of the resource 1545-1546 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource Oil on canvas, 200.0 x 174.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo di Capodimonte, Naples, Italy Source A related resource from which the described resource is derived Bartlett, Kenneth R. A Short History of the Italian Renaissance. Toronto: University of Toronto Press, 2013. Goldsmith Phillips, John and Raggio, Olga. “Ottavio Farnese.” Metropolitan Museum of Art Bulletin 12, no. 8 (April 1954): 233-240. Zapperi, Roberto. “Alessandro Farnese, Giovanni della Casa and Titian's Danae in Naples.” Journal of the Warburg and Courtauld Institutes 54 (1991): 159-171. Image Source: Artstor, accessed November 2, 2020. https://library.artstor.org/#/asset/ARTSTOR_103_41822000645323;prevRouteTS=1604414854637. Publisher An entity responsible for making the resource available Image Source: Artstor, accessed November 2, 2020. https://library.artstor.org/#/asset/ARTSTOR_103_41822000645323;prevRouteTS=1604414854637. Rights Information about rights held in and over the resource Public Domain. Image Source: Artstor, accessed November 2, 2020. https://library.artstor.org/#/asset/ARTSTOR_103_41822000645323;prevRouteTS=1604414854637. Description An account of the resource This unfinished work by Titian––Pope Paul III with his Grandsons––is a testament to the legacy of the commissioning Farnese family of Italy [1]. In this work, a frail and decrepit old man sits on a chair flanked by two younger members of his family. Although he is brilliantly adorned in the typical papal dress, his age detracts from this show of power. Pope Paul III’s beard is long, uneven, and graying while his posture is slumped; his hands are wrinkled. The faded velvet of his robe as well as the clock to his right symbolize the inescapable passing of time that eventually will lead to his demise. It is important to note that his keen, piercing eyes demonstrate his wisdom, but both his age and intelligence contrast with the brilliant and flashy reds of the tablecloth and curtains (the immortality of the office). This is symbolic of the naivete and youth of younger Farneses, creating a tension that is palpable within the frame. The biggest underlying theme in this painting is the continuation of power and the process of succession. As the political climate in sixteenth century Italy became more hostile––especially with regard to the ascension of Charles V of the Holy Roman Empire––Paul III attempted to solidify the power of his family before his death, which he was soon approaching [2]. We see this directly within the work. He appears to counsel his younger grandson Ottavio Farnese, who is separated from his grandfather and brother by his brown and muted costume, showing his place in the laity. Furthermore, it is clear by his clothing that Paul III has already appointed his elder grandson Alessandro Farnese to the position of cardinal. Although this move was seen as nepotistic and against the values of the organization, the Pope seemed to care more about securing his legacy within the Catholic church than about the religious importance of the papacy itself [3]. [1] John Goldsmith Phillips and Olga Raggio, “Ottavio Farnese,” Metropolitan Museum of Art Bulletin 12, no. 8 (April 1954): 233. [2] Kenneth R. Bartlett, A Short History of the Italian Renaissance (Toronto: University of Toronto Press, 2013), 143. [3] Roberto Zapperi, “Alessandro Farnese, Giovanni della Casa and Titian's Danae in Naples,” Journal of the Warburg and Courtauld Institutes 54 (1991): 160.